From Yoruban drumming to rumba, from jazz to hip-hop to dancehall, this course examines the sociocultural production of a range of musical forms emerging from within the African diaspora. It is focally concerned with the links between musical cultural production and social identity. We will examine these links in theoretical, ethnomusicological and anthropological analytical terms, focusing on three kinds of issues. The first revolves around identifying the basic features of these musical forms, and the ways in which ethnographic analysis of their performance sheds light on the life of the source communities. A second set of issues pertains to the relation of these musical forms to the societies-at-large in which the source communities are located. For instance, how does the negotiation of racial and ethnic identity among the primarily African-American, Caribbean, and Hispanic practitioners of hip-hop in 1970s New York relate to a more fully “multicultural” “hip-hop nation” today? What issues of identity and authenticity, consumption and power might such an analysis invoke? The third set of issues explored in this course pertains to the global spread of these musical forms not only within but also beyond the African diaspora- cum-West, including Russia, New Zealand, Hawaii and Japan.